Named Entity Results, Joseph Addison

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rejoice to see it demonstrated as has been shown by Mr. Howells and Mr. James, that much of the strength and delicacy of English style can be attained without early academic training; I think that it is unsafe to let our criticism stop here.
We need the advantage of the background; the flavor of varied cultivation; the depth of soil that comes from much early knowledge of a great many books.
This does not involve pedantry, although it is possible to be pedantic even in fiction, as Victor Hugo's endless and tiresome soliloquizers show.
The deeper the sub-soil is, the more diligently the farmer must break it up; he must not prefer a shallower loam to save trouble in ploughing.
The two things must be combined,—intellectual capital and labor; accumulation and manipulation; background and foreground.
Addison's fame rests partly on the three folio volumes of materials which he collected before beginning the Spectator; but it rests also on the lightness of touch that made him Addison

hausted lessons, and so have Persia and Arabia; these last, indeed, wreathe their weapons with too many roses, but they carry true nevertheless.
Dante not only created his own conceptions, but almost the very language in which he wrote; and what was his power of expression we can judge best by seeing in how few lines he can put vividly before us some theme which Tennyson or Browning afterward hammers out into a long poem.
In English literature there seemed to be developing, in the time of Addison, something of that steady, even, felicitous power which makes French prose so remarkable; but it has passed, since his day, possibly from excess of vigor, into a prolonged series of experiments.
Johnson experimentalized in one direction, Coleridge in another; Landor, Macaulay, Carlyle, Ruskin, in other directions still; and the net result is an uncertain type of style, which has almost always vigor and sometimes beauty, but is liable at any moment to relapse into Rider Haggard and a fiddl